Helena KÖHNE  Mezzo-soprano
 
  BIOGRAPHY  

 

Wonderfully keen was the portrayal of Adelaide as future mother-in-law, who tardily discovers her eroticism and would rather like to test her potential sons-in-law’s manhood herself. With her rich, powerful alto voice Helena Köhne draws a strong vocal and dramatic profile.
Opernwelt 2/2018 Peter Krause

Guest engagements have recently taken the Contralto as the OLD BURYA in ‘Jenufa’ to the Opéra Dijon, as BIANCA in ‘The Rape of Lucretia’ to the Cologne Opera House, as ADELAIDE in ‘Arabella’ to the Kiel Opera, as WESENER’S MOTHER in ‘Die Soldaten’ to the May Wiesbaden Festival, as AMME in ‘Boris Godunov’ and as ANNI)NA to the Wiesbaden State Theatre. Moreover, she sang the 3rd DAME in ‘Die Zauberflöte’ in a Barrie Kosky production at the Gran Teatre del Liceu, Barcelona.

Helena Köhne started her musical studies at the Hamburg Conservatory with Klaus Bülow and completed them at the University of Arts in Berlin with Prof. Jutta Schlegel. In summer 2003 she achieved her singing diploma. And was subsequently been coached by Ruthild Engert.

The singer is holder of a scholarship of the Walter Kaminski Foundation and was a semi-finalist of the German National Vocal Competition. Besides, at the Hans Eisler Competition she was awarded the Prize for the Best Interpretation of Contemporary Music in Nicolai Zinke’s ‘one-woman’ opera SWAP.

She participated in courses with Ingeborg Danz at the international Bach Academy (dir. Helmut Rilling) and in scenic workshops with Vera Nemirova at the Academy of Arts in Berlin.

Helena Köhne is a much sought-after soloist. Works like the Christmas Oratorio, the Mozart Requiem, the Schumann Requiem, Frank Martin’s ‘In Terra Pax’ and various Passions she sang e.g. with the Berlin Philharmonics, at the Hamburg Music Hall, the Oetkerhalle Bielefeld.

‚The highest praise to be awarded though goes to the alto singer Helena Köhne for her interpretation of the Image of Christ in the 3rd part, performed with captivating, narrative expressivity. ‘ Neue Westfälische

‘…first and foremost, Helena Köhne. With iridescent, vocal colouring and intense empathy the artist implored the image of the sacrificed Jesus..‘ Westfalenblatt

The singer had guest performances with opera and operetta parts at the Neukölln Opera and the theatres of in Brandenburg, Freiburg and Kassel as well as at the Opera Festival „ Oper Oder Spree“.

Here, she enjoyed great triumphs as CZIPRA, PALMATICA, the 3rd DAME, LUCILLA in Rossini’s ‘La scala di seta’, FORTUNATA in Maderna’s ‘Satyricon’ and ULRICA in ‚Un ballo in maschera’.

In 2012 Helena Köhne was very successful as the MOTHER in Braunfels’ Opera ‘Die Verkündung’ at the Palatinate Theatre in Kaiserslautern and as FILIPJENA in ‘Eugen Onegin’ at the Görlitz Theatre. Between 2012 and 2014 she could be seen as ADELAIDE in ‘Arabella’ and MARTHE SCHWERTLEIN in ‘Faust’ at the Weimar National Theatre and in Mahler’s 8th Symphony with the Berlin Philharmonics.

She portrayed the OLD BURYA in ‘Jenufa’ at the Görlitz Theatre and at the Oldenburg State Theatre she succeeded as FILIPJEWNA in ‘Eugen Onegin’. As ADELAIDE in ‘Der Vogelhändler’ she enthused 2 times at the Eutin Festival.

Future engagements take her as the OLD BURYA to the Caen Opera and the Kaiserslautern Theatre and as ERDA in ‘Rheingold’ and ‘Siegfried’ to the Wiesbaden State Theatre.

 

 
 
 
KRITIKEN
 
Opéra de Dijon – Jenufa – ALTE BURYA
Also worth mentioning Helena Köhne with her vivid interpretation of the Old Burya.
Concertonet
www.concertonet.com
Among the smaller roles, Helena Könhe with her fabulous contralto voice is particularly worth mentioning.
ClassiqueNews
www.classiquenews.com
The alto soprano Helena Köhne gives a splendid interpretation of the Old Burya: her figure, her acting, her words and her singing are real. Thus, it is no surprise her 3 appearances were a true gain.
ForumOpera
www.forumopera.com
Oper Kiel - Arabella - ADELAIDE
Wonderfully keen was the portrayal of Adelaide as future mother-in-law, who tardily discovers her eroticism and would rather like to test her potential sons-in-law’s manhood herself. With her rich, powerful alto voice Helena Köhne draws a strong vocal and dramatic profile
Opernwelt 2/2018 Peter Krause
Staatstheater Wiesbaden - Boris Godunov - AMME
'At their side the dark alto voice of Helena Köhne.'
Der neue Merker
www.der-neue-merker.eu
'...meanwhile Helena Kohne as a matronly nanny trumps with pastose alto registers.'
Der neue Merker
www.der-neue-merker.eu
Wiesbaden State Theatre - La Traviata - ANNINA
'In the role of Annina, Helena Koehne with her profound voice material was very convincing.'
Der Opernfreund
www.deropernfreund.de
Arabella - ADELAIDE - Weimar National Theatre
'Helena Koehne as his wife impressed with beauty of sound and perfect acting'
Klaus Billand, Der neue Merker
 
 
 
SZENENFOTOS
Opßera de Dijon - Jenufa – ALTE BURYA
(crédit photos Opéra de Dijon © Gilles Abegg)
 
Opßera de Dijon - Jenufa – ALTE BURYA
(crédit photos Opéra de Dijon © Gilles Abegg)
 
Oper Kiel - Arabella - ADELAIDE
 
Eutiner Festspiele - Der Vogelhändler - ADELAIDE
 
Eutiner Festspiele - Der Vogelhändler - ADELAIDE
 
Eutiner Festspiele - Der Vogelhändler - ADELAIDE
 
Theater Görlitz - Jenufa - ALTE BURYA
 
Staatstheater Oldenburg - Eugen Onegin - FILIPJEWNA
 
Nationaltheater Weimar - Falstaff
Foto Erhard Driesel
 
Nationaltheater Weimar - Falstaff
Foto Erhard Driesel